In the Future Everyone Will Be Famous for 15 Minutes | Quote Investigator In the Future Everyone Will Be Famous for 15 Minutes Andy Warhol? Apocryphal? Dear Quote Investigator: The expression “fifteen minutes of fame” is based on a quotation by the influential Pop artist Andy Warhol. But what exactly did he say and when did he say it? Quote Investigator: Warhol’s notable maxim about the transience of fame has been popular for much longer than the standard allotment of fifteen minutes. The earliest evidence QI has located for a version of the phrase is in an issue of Time magazine dated October 13, 1967 [TIAW]: Whole new schools of painting seem to charge through the art scene with the speed of an express train, causing Pop Artist Andy Warhol to predict the day “when everyone will be famous for 15 minutes.” Many reference works list an important citation that was published the next year in early 1968.

An exhibition of Warhol’s art was held at the Moderna Museet in Stockholm, Sweden and a catalog for the show was released in February-March 1968 which included a version of the popular apothegm [YQAW] [QVAW] [OQAW]: In the future everybody will be world famous for fifteen minutes. This variant includes the extra modifier “world” that is absent in the earlier Time magazine citation. Indeed, the wording of the expression is highly variable, and Warhol himself deliberately altered the statement over time. Here are additional selected citations in approximately chronological order. Top-flight researcher Stephen Goranson located an intriguing citation that helps to illuminate the early evolution of this maxim. In 1967 an art book called “Constructivism: Origins and Evolution” by George Rickey was published. The preface written by Rickey was dated July 1967, and it contained part of the saying under investigation attributed to an artist named Larry Rivers [GRLR]: The art explosion introduces so many new names and new kinds of work that we are approaching the time when, as Larry Rivers says, “Everybody will be famous.” Andy Warhol knew Larry Rivers in the 1960s.

So they may have discussed this concept of the ubiquity of fame in the near future. Admittedly, it is not certain whether the idea was communicated from Rivers to Warhol or vice versa. To provide evidence about the relationship between the two artists here is an excerpt from “POPism: The Warhol ’60s” by Andy Warhol and Pat Hackett. This book was released in 1980, but it recounts the experiences of Warhol in the 1960s. The following quote is in a section dated 1965 [AWPO]: Larry Rivers had a retrospective at the Jewish Museum on upper Fifth Avenue in September, and I’ll always remember the way the people there were dressed. Larry poked me excitedly and said, “Look at that girl! Girls are showing parts of their bodies in public now that they’ve never shown before!” In October 1967 Time magazine attributed a version of the saying to Warhol.

This phrasing mentioned the time limit of “15 minutes” which was fundamental to the mordantly humorous implication of disposable celebrity [TIAW]: Whole new schools of painting seem to charge through the art scene with the speed of an express train, causing Pop Artist Andy Warhol to predict the day “when everyone will be famous for 15 minutes.” Warhol’s words resonated in the world of art and in the larger society. In November 1967 the magazine “Art Scene” invoked the quotation in Time [AWAS]: But showmanship is the operative word. It is the essential ingredient if the Contemporary is to compete for national attention, and you’d better believe that the Museum and its Director will be competing. If the time approaches, as Warhol was quoted in Time as having predicted, when every artist will be famous for 15 minutes, this development pre-supposes the establishment of a network of Instant Fame Shops.

In 1968 a book highly critical of developments in the cultural domain titled “The Culture Vultures: or, Whatever Became of the Emperor’s New Clothes?” printed a variant of Warhol’s credo based on a longer time period [AWAL]: And Andy Warhol, who ought to know, purrs to the media that today’s turnover in art is only the beginning. “There’s going to be a day when no one will be famous for more than a week. Then everyone will have a chance to be famous.” In February-March 1968 the Moderna Museet in Stockholm held a Warhol art show and the catalog included a version of the saying as noted earlier in the article [YQAW] [QVAW] [OQAW]: In the future everybody will be world famous for fifteen minutes. In 1969 The New Republic published a profile of Warhol, and it contained a version of the quotation that was slightly different from the one in the art show catalog [AWSK]: Being famous is one of the things his career is all about – fame and passivity are the two themes that dominate everything he does.

“In the future,” he once remarked in an almost spectacularly brilliant aphorism, “everybody will be world-famous for at least fifteen minutes.” In 1970 The New Republic published an article titled “Revolution as Theatre” by the educator, playwright, and theater critic Robert Brustein who presented the following instance of the quote [AWRB]: “In five years,” as Andy Warhol has cogently observed, “everybody in the world will be famous for fifteen minutes.” In December 1970 a book review column alluded to the remark without mentioning Warhol’s name. The columnist gave a list of recent changes he deemed undesirable [OHVH]: Things like the new pornography in all the arts, the astounding rise of the use of profanity by women, the prevalence of instant fame (people can be famous for 15 minutes these days), … On July 27, 1978 Andy Warhol wrote a diary entry that was published a decade later in “The Andy Warhol Diaries”. Several variations of the maxim were in circulation and Warhol reacted with levity when he heard his words transformed [AWAD]: After work I just stayed in.

Watched 20/20 and instead of saying, “In the future everyone will be famous for fifteen minutes,” it was so funny to hear Hugh Downs say, “As Andy Warhol once said, in fifteen minutes everybody will be famous.” People on TV always get some part wrong, like—”In the future fifteen people will be famous.” In a 1978 television comedy a prominent playwright crafted a line that responded to the Waholian adage [AWAM]: “If all people will be famous, then there is no fame!” a character in Arthur Miller’s witty TV drama, “Fame,” says. In 1979 “Andy Warhol’s Exposures” was published with photographs and writings by Warhol. In a section about the renowned discotheque “Studio 54” Warhol presented an instance of his platitude, and he suggested a revision. The words of the revision were actually credited to the newsman Hugh Downs in a diary entry of Warhol’s in 1978 [AW54]: At 54, the stars are nobody because everybody is a star.

It’s the place where my prediction from the sixties finally came true: “In the future everyone will be famous for fifteen minutes.” I’m bored with that line. I never use it anymore. My new line is, “In fifteen minutes everybody will be famous.” In 1988 the satirical magazine Spy wrote about an alternative universe in which Andy Warhol’s brush with the gun-wielding writer Valerie Solanas was fatal. Warhol’s saying was placed into the mouth of another modern artist [SPAL]: Roy Lichtenstein’s quip — “In the future, lots more people will be famous, but for shorter periods of time” — never quite catches on. In 2005 a writer in the Village Voice offered two alternatives to the well-known phrase [JSVV]: Warhol’s dictum is being turned inside out. Soon it will simultaneously be “In the future only 15 people will be famous” and “In the future everyone will be famous to 15 people.” An interesting variant of the phrase has gained currency. It was used in an artwork by the graffiti provocateur Banksy.

Here is a link to an article on this topic: In the future everyone will be anonymous for fifteen minutes In conclusion, QI believes that Warhol is properly credited with more than one version of this saying. For example, the 1968 version in the art show catalog is well-founded. Also, the version Warhol wrote in his diary in 1978 can be accurately ascribed to him. [TIAW] 1967 October 13, Time, Sculpture: Master of the Monumentalists, Time, Inc, New York. (Online Time magazine archive) link [YQAW] 2006, The Yale Book of Quotations by Fred R. Shapiro, Section Andy Warhol, Page 797, Column 2, Yale University Press, New Haven. (Verified on paper) [QVAW] 2006, The Quote Verifier by Ralph Keyes, Page 63, St Martin’s Griffin, New York. (Verified on paper) [OQAW] Oxford Dictionary of Quotations edited by Elizabeth Knowles, “Andy Warhol”, Oxford Reference Online, Oxford University Press.

(Accessed 2012 March 10) [GRLR] 1967, Constructivism: Origins and Evolution by George Rickey, Preface, Page x, [Preface signature: George Rickey, East Chatham, New York, July 1967] George Braziller, New York. (Verified on paper) [AWPO] 1980, POPism: The Warhol ’60s by Andy Warhol and Pat Hackett, Section date: 1965, Page 127, Harcourt Brace Jovanovich, New York. (Verified on paper) [AWAS] 1967 November, Art Scene, “Jan van der Marck: The Young Man Who . . .” by Dennis Stone, Page 11, Volume 1, Art Scene Co., Chicago, Illinois. (Verified on paper; Thanks to the librarians at the Lucille Caudill Little Fine Arts Library at the University of Kentucky) [AWAL] 1968, “The Culture Vultures: or, Whatever Became of the Emperor’s New Clothes?” by Alan Levy, Page 203, G. P.

Putnams Sons, New York. (Verified on paper) [AWSK] 1969 April 26, The New Republic, Warhol by Stephen Koch, Start Page 24, Quote Page 26, The New Republic, Inc., Washington, D.C. (Verified on microfilm) [AWRB] 1970 March 14, The New Republic, Revolution as Theatre by Robert Brustein Start Page 13, Quote Page 15, Column 1, The New Republic, Inc., Washington, D.C. (Verified on microfilm) [OHVH] 1970 December 06, Omaha World Herald, Leaves From a Bookman’s Notebook by Victor P. Hass, Page 30, [GNB Page 214], Omaha, Nebraska. (GenealogyBank) [AWAD] 1989, The Andy Warhol Diaries by Andy Warhol, Edited by Pat Hackett, [Diary entry dated July 27, 1978], Page 156, Warner Books, New York.

(Verified on paper) [AWAM] 1979 December 11, Toledo Blade, Off the Grapevine by Liz Smith, Page P-5, Column 1, Toledo, Ohio. (Google News Archive) [AW54] 1979, Andy Warhol’s Exposures, Photographs by Andy Warhol, Text by Andy Warhol with Bob Colacello, Section: Studio 54, Page 48, Grosset & Dunlap: A Filmways Company, New York. (Verified on paper) [SPAL] 1988 December, Spy, It’s a Wonderful Life by Jamie Malanowski, Quote Page 131, Column 2, Spy Publishing Partners, New York. (Google Books full view) [JSVV] 2005 March 15, The Village Voice, We Are Theirs by Jerry Saltz, Village Voice, New York. (Accessed online at villagevoice.com on April 4, 2012) link This entry was posted in Andy Warhol on Andy Warhol - Wikiquote Andy Warhol Jump to: navigation , search In the future everyone will be world-famous for 15 minutes.

Andy Warhol - in sourced quotes of the artist. Andy Warhol ( 6 August 1928 – 22 February 1987 ) was an American painter, filmmaker, publisher, actor and major figure in the Pop Art movement. Contents Quotes of Andy Warhol[ edit ] I think everybody should like everybody. They always say that time changes things, but you actually have to change them yourself. Andy Warhol: I think everybody should like everybody. Gene Swenson: Is that what Pop Art is all about? Andy Warhol: Yes, it's liking things. ** 'What is Pop Art? Answers from 8 Painters', Art News 62, November 1963 The reason I'm painting this way is that I want to be a machine, and I feel that whatever I do and do machine-like is what I want to do. 'What is Pop Art? Answers from 8 Painters', Part 1, G. R. Swenson, in Art News 62, November 1963 Therefore, everything seen – every object, that is, plus the process of looking at it – is a Duchamp . Turn it over and it is.

In: Avant-garde Performance and the Effervescent Body, Sally Banes, Greenwich Village 1963; p. 124 The farther West we drove [to California, Fall of 1963, with w:Gerard Malanga , w:Wynn Chamberlain , and w:Taylor Mead for an opening of Warhol's 'Liz & Elvis paintings' at the Ferus Gallery in Los Angeles], the more Pop everything looked on the highways. Suddenly we all felt like insiders because even though Pop was everywhere – that was the thing about it, most people still took it for granted, whereas we were dazzled by it – to us, it was the new Art. Once you 'got' Pop, you could never see a sign the same way again. And once you thought Pop, you could never see America the same way again. The moment you label something, you take a step – I mean, you can never go back again to seeing it unlabeled. We were seeing the future and we knew it for sure.. ..the mystery was gone, but the amazement was just starting.

[quote in 1963] In: Warhol in his own words – Untitled Statements ( 1963 – 1987), selected by Neil Printz; as quoted in Andy Warhol, retrospective, Art and Bullfinch Press / Little Brown, 1989, pp. 457 – 467 I think of myself as an American artist: I like it here.. .I feel I represent the U.S. in my art but I’m not a social critic. I just paint those things in my paintings because those things are the things I know best. I’m not trying to criticize the U.S. in any way, not trying to show up any ugliness at all. I’m just a pure artist, I guess. But I can’t say if I take myself seriously as an artist. I just hadn’t thought about it. I don’t know how they consider me in print, though. In: Andy, My true Story 3, Gretchen Berg, Los Angeles Free Press (17 March 1967); as quoted in Andy Warhol, retrospective, Art and Bullfinch Press / Little Brown, 1989, pp.

457 – 467 * If you want to know all about Andy Warhol, just look at the surface; of my paintings and films and me, and there I am. There's nothing behind it. In: Andy, My true Story 3, Gretchen Berg, Los Angeles Free Press (17 March 1967); as quoted in Andy Warhol, retrospective, New York and Boston Museum of modern Art & Bullfinch Press / Little Brown, 1989, pp. 457 – 67 What Is Pop Art? Interviews with Eight Painters, Part 1 (1963)[ edit ] by Gene Swenson 'What Is Pop Art? Interviews with Eight Painters (Part 1)', Art News 62, New York, November 1963; reprinted in Pop Art Redefined, John Russell and Suzi Gablik (eds.), London, 1969 It's hard to be creative and it's also hard not to think what you do is creative or hard not to be called creative because everybody is always talking about that and individuality. Everybody's always creative.

Ans it is so funny when you say things aren't, like the shoe I would draw for an advertisement was called a 'creation', but the drawing of it was not.. .There are millions of actors. They're all pretty good. And how many painters are there? Millions of painters and all pretty good. How can you say one style is better then another. You ought to be able to be an Abstract-expressionist next week, or a Pop artist, or a realist, without feeling you're given up something. pp. 116-19 If an artist can't do anymore, then he should just quit; and an artist ought to be able to change his style without feeling bad. I heard that Lichtenstein said he might not be painting comic strips a year of two from now [1963]. I think that would be so great, to be able to change styles. And I think that’s what’s going to happen; that's going to be the whole new scene. pp. 116-19 We went to see 'Dr No' [first James Bond film, 1962] at Fort-Second Street. It's a fantastic movie, so cool.

We walked outside and somebody threw a cherry bomb right in front of us, in this bog crowd. And there was blood. I saw blood on people and all over. I felt like I was bleeding all over. I saw in the paper last week that there are more people throwing them - it's just part of the scene - and hurting people. My show in Paris is to be called 'Death in America'. I'll show the 'Electric-chair' pictures and the Dogs in Birmingham and car wrecks and some suicide pictures. pp. 116-19 I guess it was the big plane crash picture [why Warhol started his 'Death'-series], the front page of a newspaper: '129 DIED'. I was also painting the Marilyns [the w:Marylin Monroe portraits, Warhol started after her tragic death in 1962] I realized that everything I was doing must have been death. It was Christmas or Labor Day - a holiday - and very time that you turned on the radio they said something like '4 millions are going to die'. That started it. But when you see I gruesome picture over and over again, it doesn't really have any effect. pp.

116-19 I started those [the ' w:Elisabeth Taylor ' pictures, Warhol made from a publicity photo of her 1960 film ' w:BUtterfield 8 a long time ago when she was so sick and everybody said she was going to die [but she recovered]. Now I'm doing them all over, putting bright colors on her lips and eyes. My next series will be pornographic pictures, they will look blank; when you turn on the black lights, then you will see them - big breast and.. .If a cop came in, then you could just flick out the lights or turn to the regular lights. How could you say that was pornography?. .. Segal did a sculpture of two people making love, but he cut it all up, I guess because he thought it was too pornographic to be art.. .The thing I like about it is that it makes you forget about style and that sort of things; style isn't really important. pp. 116-19 The name [Pop] sounds so awful. Dada must have something to do with Pop. it's so funny, the names are really synonyms.

Does anyone know what they're supposed to mean or have to do with, those names? Johns and Rauschenberg , Neo-Dada for all those years, and everyone calling them derivative and unable to transform the things they use, are now called progenitors of Pop . It's funny the way things change. I think w:John Cage has been very influential, and w:Merce Cunningham too, I think.. ..History books are being rewritten all the time. pp. 116-19 In the future everyone will be world-famous for 15 minutes. Catalogue of an exhibition of his art in Stockholm, Sweden (1968) This quotation has produced a common cliché about fame in pop-culture which is called "15 minutes of fame" ; it has often been paraphrased or misquoted in various ways, including: In the future, everybody will be world famous for 15 minutes. In the future everyone will have their fifteen minutes of fame When asked about this quote, he would corrupt it intentionally, including: In the future, fifteen people will be famous. In fifteen minutes, everyone will be famous.

Electric chair quote[ edit ] Warhol's electric chair quote (date not established) is found in many books with variations. The earliest and most reported version is: You'd be surprised how many people want to hang an electric chair on their living-room wall. Specially if the background color matches the drapes. As quoted in Moderna Museet (1968), Andy Warhol: Stockholm, Moderna Museet, February–March 1968 (exhib. cat.), Malmö: Sydsvenska Dagbladets, [ISBN]; repr.

1970, Boston: Boston Book and Art, [ISBN] As quoted in Mike Wrenn (1991), Andy Warhol: In His Own Words, London & New York: Omnibus Press [Music Sales Group], ISBN 0-7119-2400-7 [ ISBN 978-0-7119-2400-0 ] As quoted in Isabel Kühl (2007), Andy Warhol: Living Art, Munich & New York: Prestel, ISBN 978-3-7913-3814-9 [ ISBN 3-7913-3814-5 ] Common variants include: (You'd be surprised who'll hang an electric chair in the living room.

Especially if the background matches the drapes.) As quoted in Jan Greenberg, Sandra Jordan (2004), Andy Warhol: Prince of Pop, New York: Delacorte, ISBN 0-385-90079-1 [ ISBN 978-0-385-90079-9 ] Additional variants with "curtains" for "drapes" came by way of French translations being re-translated back into English for bilingual books or exhibition notices: (You wouldn't believe how many people will hang up a picture of an electric chair? especially if it matches the color of their curtains.) As quoted in Sylvie Fleury et al. (2001), Sylvie Fleury: Identity, Pain, Astral Projection (exhib.

cat., Magasin, Grenoble, France, 2001–2002), Paris: RMN (Réunion des musées nationaux) & Dijon: Presses du réel, ISBN 2-7118-4313-0 [ ISBN 978-2-7118-4313-8 ] (You wouldn't believe how many people will hang a picture of an electric chair in their room – especially if the color of the picture matches the curtains.) As quoted in Geoff Nicholson (2002), Andy Warhol: A Beginner's Guide, London: Hodder & Stoughton, ISBN 0-340-84620-8 [ ISBN 978-0-340-84620-9 ] (You wouldn't believe the number of people who hang the electric chair painting in the homes, especially if the colour of the canvas matches the curtains.) As quoted in Marie Deparis (2009), "Mounir Fatmi: Gardons Espoir / Keeping Faith" (bilingual exhibition notice, as a retranslation from the French "On n'imagine pas le nombre de

 personnes qui accrocheraient chez elles le tableau de la chaise électrique, surtout si les coloris de la toile s'harmonisent avec les rideaux.") If you want to know all about Andy Warhol, just look at the surface; of my paintings and films and me, and there I am.

There's nothing behind it.. .I see everything that way, the surface of things, a kind of mental Braille. I just pass my hands over the surface of things. [1973] In: Warhol in his own words – Untitled Statements ( 1963 – 1987), selected by Neil Printz; as quoted in Andy Warhol, retrospective, Art and Bullfinch Press / Little Brown, 1989, pp. 457 – 467 ISBN 978-0156717205 At the times in my life when I was feeling the most gregarious and looking for bosom friendships, I couldn't find any takers so that exactly when I was alone was when I felt the most like not being alone. The moment I decided I'd rather be alone and not have anyone telling me their problems, everybody I'd never even seen before in my life started running after me to tell me things I'd just decided I didn't think it was a good idea to hear about.

As soon as I became a loner in my own mind, that's when I got what you might call a "following." As soon as you stop wanting something you get it. I've found that to be absolutely axiomatic. Ch. 1: Puberty During the 60's, I think, people forgot what emotions were supposed to be. And I don't think they've ever remembered. I think that once you see emotions from a certain angle you can never think of them as real again. That's what more or less has happened to me. I don't really know if I was ever capable of love, but after the '60's I never thought in terms of "love" again. Ch. 1: Puberty I don't see anything wrong with being alone, it feels great to me. People make a big thing about personal love. It doesn't have to be such a big thing. The same for living - people make a big thing about that too. But personal living and personal loving are the two things the Eastern-type wise men don't think about. Ch.

3: Senility I love every "lib" movement there is, because after the "lib" the things that were always a mystique become understandable and boring, and then nobody has to feel left out if they're not part of what is happening. For instance, single people looking for husbands and wives used to feel left out because the image marriage had in the old days was so wonderful. w:Jane Wyatt and Robert Young. w:Nick and Nora Charles , Ethel and Fred Mertz, Dagwood and Blondie. Ch. 3: Senility What I was actually trying to do in my early movies was show how people can meet other people and what they can do and what they can say to each other. That was the whole idea: two people getting acquainted. And then when you saw it and you saw the sheer simplicity of it, you learned what it was all about. Those movies showed you how some people act and react with other people. They were like actual sociological 'For instance's.

They were like documentaries, and if you thought it could apply to you, it was an example, and if it didn't apply to you, at least it was a documentary, it could apply to somebody you knew and it could clear up some questions you had about them. Ch. 3: Senility I've never met a person I couldn't call a beauty. Ch. 4: Beauty I really don't care that much about "Beauties." What I really like are Talkers. To me, good talkers are beautiful because good talk is what I love. The word itself shows why I like Talkers better than Beauties, why I tape more than I film. It's not "talkies." Talkers are doing something. Beauties are being something. Which isn't necessarily bad, it's just that I don't know what it is they're being. It's more fun to be with people who are doing things. Ch. 4: Beauty When you're interested in somebody, and you think they might be interested in you, you should point out all your beauty problems and defects right away, rather than take a chance they won't notice them..

.On the other hand, say you have a purely temporary beauty problem—a new pimple, lackluster hair, no-sleep eyes, five extra pounds around the middle. Still, whatever it is, you should point it out.. .If you don't point out these things they might think that your temporary beauty problem is a permanent beauty problem.. .If they really do like you for yourself, they'll be willing to use their imagination to think of what you must look like without your temporary beauty problem. Ch. 4: Beauty In some circles where very heavy people think they have very heavy brains, words like "charming" and "clever" and "pretty" are all put-downs; all the lighter things in life, which are the most important things, are put down. Ch. 4: Beauty I know a girl who just looks at her face in the medicine cabinet mirror and never looks below her shoulders, and she's four or five hundred pounds but she doesn't see all that, she just sees a beautiful face and therefore she thinks she's a beauty.

And therefore, I think she's a beauty, too, because I usually accept people on the basis of their self-images, because their self-images have more to do with the way they think than their objective-images do. Ch. 4: Beauty The most beautiful thing in Tokyo is McDonald's. The most beautiful thing in Stockholm is McDonald's. The most beautiful thing in Florence is McDonald's. Peking and Moscow don't have anything beautiful yet. Ch. 4: Beauty I'm confused about who the news belongs to. I always have it in my head that if your name's in the news, then the news should be paying you. Because it's your news and they're taking it and selling it as their product. But then they always say that they're helping you, and that's true too, but still, if people didn't give the news their news, and if everybody kept their news to themselves, the news wouldn't have any news. So I guess you should pay each other. But I haven't figured it out fully yet. Ch.

5: Fame Before I was shot [June, 1968], I always thought that I was more half-there than all-there - I always suspected that I was watching TV instead of living life. People sometimes say that the way things happen in the movies is unreal, but actually it's the way things happen to you in life that's unreal. The movies make emotions look so strong and real, whereas when things really do happen to you, it's like watching television - you don't feel anything. Right when I was being shot and ever since, I knew that I was watching television. The channels switch, but it's all television. Ch. 6: Work I suppose I have a really loose interpretation of "work" because I think that just being alive is so much work at something you don't always want to do. Being born is like being kidnapped. And then sold into slavery. People are working every minute. The machinery is always going. Even when you sleep. Ch. 6: Work After being alive, the next hardest work is having sex. Of course, for some people it isn't work because they need the exercise and they've got the energy for the sex and the sex gives them even more energy.

Some people get energy from sex and some people lose energy from sex. I have found that it's too much work. But if you have the time for it, and if you need that exercise—then you should do it. But you could really save yourself a lot of trouble either way by first figuring out whether you're an energy-getter or an energy-loser. As I said, I'm an energy-loser. But I can understand it when I see people running around trying to get some. Ch. 6: Work I thought that young people had more problems than old people, and I hoped I could last until I was older so I wouldn't have all those problems. Then I looked around and saw that everybody who looked young had young problems and that everybody who looked old had old problems. The "old" problems to me looked easier to take than the "young" problems. So I decided to go gray so nobody would know now old I was and I would look younger to them than how old they thought I was.

I would gain a lot by going gray: (1) I would have old problems, which were easier to take than young problems, (2) everyone would be impressed by how young I looked, and (3) I would be relieved of the responsibility of acting young—I could occasionally lapse into eccentricity or senility and no one would think anything of it because of my gray hair. When you've got gray hair, every move you make seems "young" and "spry," instead of just being normally active. It's like you're getting a new talent. So I dyed my hair gray when I was about twenty-three or twenty-four. Ch. 6: Work The President has so much good publicity potential that hasn't been exploited. He should just sit down one day and make a list of all the things that people are embarrassed to do that they shouldn't be embarrassed to do, and then do them all on television. Ch. 6: Work What's great about this country is that America started the tradition where the richest consumers buy essentially the same things as the poorest. You can be watching TV and see Coca-Cola, and you know that the President drinks Coke, Liz Taylor drinks Coke, and just think, you can drink Coke, too.

A Coke is a Coke and no amount of money can get you a better Coke than the one the bum on the corner is drinking. All the Cokes are the same and all the Cokes are good. Liz Taylor knows it, the President knows it, the bum knows it, and you know it. Ch. 6: Work Sometimes you fantasize that people who are really up-there and rich and living it up have something you don't have, that their things must be better than your things because they have more money than you. But they drink the same Cokes and eat the same hot dogs and wear the same ILGWU clothes and see the same TV shows and the same movies. Rich people can't see a sillier version of w:Truth or Consequences , or a scarier version of w:The Exorcist . You can get just as revolted as they can—you can have the same nightmares. All of this is really American. Ch. 6: Work Sometimes you're invited to a big ball and for months you think about how glamorous and exciting it's going to be.

Then you fly to Europe and you go to the ball and when you think back on it a couple of months later what you remember is maybe the car ride to the ball, you can't remember the ball at all. Sometimes the little times you don't think are anything while they're happening turn out to be what marks a whole period of your life. I should have been dreaming for months about the car ride to the ball and getting dressed for the car ride, and buying my ticket to Europe so I could take the car ride. Then, who knows, maybe I could have remembered the ball. Ch. 7: Time Interview with w:Edward Lucie-Smith on BBC Radio 3 (17 March 1981) Edward Smith: Would you like to see your pictures on as many walls as possible, then? Andy Warhol: Uh, no, I like them in closets. Edward Smith: Why is it more of a pleasure to do 30 or 40 pictures than to do just one? Andy Warhol: Then I can, uh, listen to my soundabout which looks just like the thing that I'm wearing now, and you can listen to opera and stuff like that.

Edward Smith: Does that mean you don't have to think when you're painting? Andy Warhol: No, you can listen to really good music. Edward Smith: So, what, painting is an excuse to listen to really good music? Andy Warhol: Oh, yeah. Edward Smith: What do you think is the characteristic of a really nice person? Some people you obviously do like more than others. Andy Warhol: Ummm, well, if they talk a lot. Edward Smith: What, and don't make you talk? Andy Warhol: Yeah, yes, that's a really nice person. Edward Smith: Thank you, Andy. I still care about people but it would be so much easier not to care. I don't want to get to close: I don't like to touch things, that's why my work is so distant from myself [Nicolas Love, April 1987] In: Warhol in his own words – Untitled Statements ( 1963 – 1987), selected by Neil Printz, in Andy Warhol, retrospective, Art and Bullfinch Press / Little Brown, 1989, pp.

457 – 467 Andy Warhol Probably Never Said His Celebrated "Fifteen Minutes of Fame" Line | Smart News | Smithsonian Andy Warhol Probably Never Said His Celebrated "Fifteen Minutes of Fame" Line In the interest of branding, however, it doesn't matter who said it, only that it worked smithsonian.com April 8, 2014 "In the future, everyone will be world-famous for 15 minutes." This celebrated quote has become Andy Warhol most well-known statement . It led to the concept of "15 minutes of fame"—the idea that celebrity, from media scandals to memes, will almost always be fleeting. According to new evidence, however, it very well could be that Warhol never said this. The original quote seems to trace back to a 1968 brochure Warhol distributed at one of his exhibitions in Sweden. But, according to art critic Blake Gopnik , it could have been Pontus Hultén , a famous curator in Europe, who coined the phrase. There are other claimants, too, including painter Larry Rivers and photographer Nat Finkelstein.

Finkelstien insisted that he made the remark in reply to a comment that Warhol made about everyone wanting to be famous, quipping, "Yeah, for about 15 minutes, Andy." As Gopnik explains to Marketplace , Warhol himself admitted to never saying it in 1980. But by then, the line was firmly his. And as Gopnik points out, it really didn't matter. By that point, Warhol, an artist who explored the concept of branding, was firmly a brand of his own, and the 15-minutes quote fit in with that story nicely. "We've decided it's by Warhol, whether he likes it or not," Gopnik told Marketplace. "We've created and continue to create the Warhol brand for ourselves." Like this article? In The Future Everyone Will Be World Famous For 15 Minutes. | Rachel's Design Blog In The Future Everyone Will Be World Famous For 15 Minutes.

October 18, 2011 § Leave a comment While researching the evolution of technology and its role in communication I stumbled upon an NPR podcast, Warhol Was Right About ’15 Minutes Of Fame’ discussing how social media has seen Andy Warhol’s vision of fame realized. Warhol said that, “In the future everyone will be world famous for 15 minutes,” while this is a well known quote many have struggled to decipher exactly what he meant by this. I don’t think the 1960’s Pop artist was by any means a prophet or a time traveler, but I do think that he saw something about American culture and consumerism that most people were too close to see. Warhol saw that everything around us is manufactured and made to be consumed, even the news. Warhol also realized the vanity of people and how this vanity and need to feel important in the world fed largely into consumerism. Many people felt he made a mockery of the art scene by presenting commercial illustrations as art. What many people still don’t understand is that by doing this Warhol was able to create a visual conversation on manufacturing. Warhol saw the idea of ‘celebrity’ as a not only manufactured product, but also something everyone desired.

Warhol used images of Marilyn Monroe, Elvis Presley, Campbell’s Soup and electric chairs to celebrate the celebrity and how it is consumed. Warhol’s statement “In the future everyone will be world famous for 15 minutes,” has come true because of social media. Social media has given the public authorship and power in the media. The general public no longer has to sit back and simply consume news and information, we now have the ability to be not just a part of the flow of news and information but also a source. Warhol said in his book From A to B & Back Again: The Philosophy of Andy Warhol “I’m confused about who the news belongs to. I always have it in my head that if you name’s in the news, then the news should be paying you. Because it’s your news and they’re taking it and selling it as their product. But then they always say they’re helping you. And that’s true too, but still, if people didn’t give the news their news and if everybody kept their news to themselves, the news wouldn’t have any news. So I guess you should pay each other.

But I haven’t figured it out fully yet.” Social media gives people to a forum to share their news and to be famous in their own right for 15 minutes. I have been working on away to visually communicate how this idea. A way to say Warhol was right, everyone does have their 15 minutes of Fame and it’s come true on Facebook. I liked the idea of incorporating the Marilyn Monroe image, because I think its recognizable as a piece of Andy Warhol’s work and as Marilyn the celebrity. I hope using this image will make people think of Warhol’s philosophies of consumption and celebrity. I then thought to use Facebook avatar before you upload a profile picture to show that through Facebook Warhol’s prophecy has come true. The avatar representing that it can be anyone. I’ve made a few pieces but my problem currently is that although almost everyone my age is on Facebook the profile avatar isn’t really very recognizable. I’m not sure if this makes my idea more interesting, because it shows how much Facebook has permeated out culture, almost like we’re so close and involved with it that we can’t see our way out. Warhol’s Marylin Here Are my first few attempts.

My thought was to recreate Andy Warhol’s Marilyn through screen printing it with the Facebook Avatars on top. However, after consulting with the screen printing studio I’ve decided that would be too tricky and time consuming. My next idea was to print the image of Marilyn onto canvas and then simply screen print the Facebook avatar on top. I ran in trouble though because I couldn’t find the 3×3 image I had been using in high resolution, not good for printing. After some thought and looking through some more of Warhol’s pieces I’m wondering if it’s really necessary to use repetitive imagery. I’m trying to deconstruct this piece down to its simplest forms to best communicate my message of how anyone can have their Marilyn 15 minutes of fame on facebook. This is the next round I’ve done. The last piece, which I made yesterday, I think I like the best. It appears that Marilyn is fitting into the Facebook image, like a puzzle. I want it to look like anyone can fit into this space which why I left the white sliver. I’m not sure if it’s there yet.

But I kinda of like that people can’t recognize the Facebook Avatar at fist, its like the arrow in the FedEx logo, at first you don’t notice it, but then that’s all you can see. Any thoughts, comments are welcome! Like this: Quotes - In the future everybody will be world famous for fifteen minutes. Quotes Source: Art exhibit at the Moderna Museet Author: Andy Warhol "In the future everybody will be world famous for fifteen minutes." In the future, everybody will be world-famous for fifteen minutes. Time Funny Experience Art Future History Historical Documents Andy Warhol Context This line was written by Andy Warhol for an art exhibit at the Moderna Museet in Stockholm, Sweden (1968). Andy Warhol, whose artwork was M'm! M'm! Good! , had a lot of thoughts on pop culture and fame.

In a Time magazine article in 1967, Andy Warhol predicted the future as a time "when everyone will be famous for fifteen minutes." The next year, he included a similar version of this quote in an art show, saying, "In the future, everybody will be world-famous for fifteen minutes." Warhol remixed this quote over the course of his career, saying in 1978, "In fifteen minutes everybody will be famous." Start the countdown… Where you've heard it You've heard the phrase "fifteen minutes of fame." The entire concept came from Andy Warhol, decades before reality TV made it even more likely for a person to achieve their fifteen minutes (or longer, in some cases) of fame… or infamy.

Additional Notable References: Everybody will be world famous for fifteen minutes | Define Everybody will be world famous for fifteen minutes at Dictionary.com everybody will be world famous for fifteen minutes everybody will be world famous for fifteen minutes in Culture Expand Everybody will be world famous for fifteen minutes definition A statement by Andy Warhol , who actually wrote, “In the future everyone will be world-famous for fifteen minutes.” The American Heritage® New Dictionary of Cultural Literacy, Third Edition Copyright © 2005 by Houghton Mifflin Company. Published by Houghton Mifflin Company. All rights reserved. Hal Higdon Training Programs Hal Higdon Training Programs Andy Warhol Promised Everyone 15 Minutes of World Fame by Hal Higdon Three Warholian moments: It happened to me. Andy Warhol, of course, was the artist who once opined: "In the future, everyone will be world-famous for 15 minutes." Warhol believed the Media could convert anyone to a paparazzi target, at least briefly. But some of us are blessed--or cursed--with more than the normal allotment of fame, as I learned last week.

I realized this after I received an email message from a college classmate, who claimed I was the answer in a New York Times crossword puzzle: "Wrote running book, nine letters." That clue came toward the end of the week, when Times puzzles get tougher, so she was relieved to fill in the boxes: H-A-L-H-I-G-D-O-N. About the same time, I learned that John Roberts had been nominated as the next Supreme Court Justice. Within hours of the nomination, I received a call from a newspaper reporter asking if I knew Judge Roberts. Well, not really, although he grew up only two blocks from our home in Long Beach, Indiana. His youngest sister Barbara was a close friend of our daughter Laura. Another sister, Peggy, once had been our babysitter. Our son Kevin confesses now that when he was walking to school in 2nd grade, he once swung his Batman lunchpail at Peggy because she was teasing him. Then in the same week, I heard from the producers of an Off Broadway play titled Thrill Me! , a musical based on the Leopold & Loeb case, if you can believe that.

One of my books was titled The Crime of the Century about that same murder case from 1924. The producers wondered if I could come to New York and do a "Talkback" after one of the performances? How to handle celebrity Humbly, I agreed, but how does one handle the celebrity that comes with three Warholian moments? I wondered: Do I serve my three periods of world fame simultaneously or concurrently? Do the 3 x 15 minutes count merely as one infamous 15-minute segment, or do I claim a total of 45 minutes of near immortality? Would Judge Roberts please offer an opinion? No, he probably doesn't want the Senate to know too much about his views. Perhaps I shouldn't agonize too much, since when I checked with the New York Times crossword puzzle editor, he claimed that my name never had been used in one of their crossword puzzles. Rather huffily, I might add. My classmate later admitted that maybe it was a puzzle in the Rochester Democrat & Chronicle, lower on the feeding chain, but is anyone going to really check my resume after my 3 x 15 minutes pass?

And how credible is the Times these days since one of its reporters just got sent to jail? The connection with John Roberts is real, since his sister Barbara did stop by my booth several years ago at the LaSalle Bank Chicago Marathon Expo to say hello and ask about our daughter. I'm not sure whether Barbara was running the marathon or supporting a friend, maybe even her more-famous-than-me brother. About Sister Peggy: did we file W2 forms in her name? Is there something about her babysitting past that Ted Kennedy might like to know? The appearance in New York at Thrill Me! was fun, because unlike my usual appearances, I got to talk to a near capacity audience of non-runners about a subject sadly more popular than running: crime and violence. Nobody asked about their knee injuries, nobody asked how much Gatorade to drink per mile, and I learned after my Off Broadway stint that the show had been extended an extra two weeks. Unfortunately, while Thrill Me! continues to play to the public and while John Roberts moves inexorably toward his confirmation, my three Warholian moments have passed. Will I ever be a nine-letter answer to a crossword puzzle again?

All Contents © copyright Hal Higdon, 2011 All rights reserved Website design and development by RACERSITES Andy Was Right - TIME Andy Was Right The stars of Web 2.0 are descendants of Warhol. But there's not much family resemblance By Josh Tyrangiel Monday, Dec. 25, 2006 Follow @TIME Nostradamus looked into the future and saw plagues, earthquakes, wars, floods and droughts. In the prediction game, this is known as covering your ass. In 1968 Andy Warhol was more precise. He squinted ahead and declared that "in the future, everyone will be world famous for 15 minutes." Warhol nailed it. Not only has his prophecy eclipsed his fame, but as a cultural observation, 15 minutes has had its 15 minutes. We forget that it took a man at the nexus of art and self-promotion to figure out that as cameras shrank and screens multiplied, the barriers to fame would someday be eradicated. Call it Warhol's Theorem.

Anyone who has uploaded a video to YouTube or posted a MySpace profile might be considered a child of Warhol--except that Warhol's vision of fame was very different from how he actually lived. "Oh, he was impossible," says Dr. Robert B. Millman, a psychiatrist and Warhol acquaintance who, not coincidentally, invented the term acquired situational narcissism. "When you were with him, you'd feel as if he didn't have the slightest interest in knowing you. All he wanted to know was what you thought of him--or that you thought of him." From the son of an immigrant Czech coal miner in Pittsburgh, Pa., to the bleached dandy at the center of Studio 54's human carnival, Warhol willed himself into a celebrated object of others' imaginings--a blank slate on which culture writers, semioticians and hipsters projected themselves. It's not an accident that the Velvet Underground recorded I'll Be Your Mirror while he was their manager, or that his most famous self-portrait is of him putting his finger to his lips.

As the art critic Harold Rosenberg put it, He was "the figure of the artist as nobody, though a nobody with a resounding signature." There's something admirable and uniquely American in the act of self-creation--but it helps if you actually create something. In a conceptual artist, cultivating emptiness falls within the acceptable bounds of shtick. (Even Warhol's originals were reproductions.) But Warhol also put his blankness behind a series of conspicuous velvet ropes, turning a democratic notion--we're all stars, or at least we all could be--into something slightly toxic. YouTube and MySpace and all the other Web 2.0 tools out there haven't eliminated exclusivity or narcissism. You've still got to think you're pretty damned interesting to post a video of yourself talking to a computer screen in your bedroom. But they have changed the way the fame game is played. A blank slate is not enough. To get fame--in the form of page views, comments and friend tags--you have to put yourself out there in a way that allows others to relate. "[YouTube] is narcissistic to the extent that you're thinking about yourself," says Millman. "But to get ahead, you need some empathy.

It's weird, but it's a lot better to be famous this way than to covet the fame of others by reading Us magazine." Previous Page

Question: Who famously opined that "In the future, everyone will be world-famous for 15 minutes"?
Answer: Andy Warhol